March Work In Progress Resident


Sarah Hewitt is a Maine based contemporary artist. Sarah's constructions are crafted using laborious textile techniques, sacred rituals, and synthetic mass produced materials with vivid colors. Her woven works leads us adeptly into a conversation about the art and craft, feminism, and the fluidity of gender and sexuality. Sarah relishes the rise of the feminine and honors her matrilineage and patrilineage.


Her works are exhibited throughout the country with recent exhibitions including Kindred Beasts at the Everson Museum, and not a goddess... at the Rozsa Center for Performing Arts at Michigan Technological University. Sarah has received many residencies and awards including a Skowhegan School of Painting and Sculpture residency, Vermont Studio Center fellowship, and multiple Haystack Mountain School of Crafts scholarships. Recently she was nominated for the prestigious Joan Mitchell Painters and Sculptors Award. 







Saturday, March 25, 3-5PM

Manhattan Studio


Join Sarah for a open discussion about the role of artist. Bring your thoughts, concerns and resources to the table and broaden the discussion. Crochet or knitting optional, but needles and yarn will be provided. Caffeine in abundance.

Sarah will talk about her current projects and collaborations. More importantly she wants to hear your thoughts, how you are working and your ideas about how to open up discourse in divided communities.






You can visit Sarah's installation for Work In Progress from March 4 - 31 and learn more about her work and process during Artist Open Hours, on Saturdays, 2-5PM at our Manhattan studio.


Sarah Hewitt Artist Statement:


I use the traditional crafts of weaving and stitching to sculpt. There is harmony and structure within the chaos of my threads—but I am pushing this harmony to the edges. Less beauty/more bewilderment/embrace the unseemly are my commands. I am interjecting the chaos, the insanity and the frailty of what is life right now into the soothing rhythms of handwork. I thoroughly mix the sacred with the profane.

Let the weaving and stitching be the sacred; the tradition, the rhythm, the craft and know-how passed from generations. Let it create the cloth that covers, protects, seduces and honors. Let it be the value, the commodity it has always been. It is fashion, it is couture and it is handmade. But let how it functions, how it interacts within a space, how it fractures–be the profane. 

I do not finish the stitches; I do not bind the materials so that they may hold their structure. I hunt for cast-off materials at job lots. They are loud, ridiculous, and too tacky for the home hobbyists to take home and be made into their domestic and wearable fashions. These are the materials I relish. 

I make hundreds and hundreds of intersections and textile connections come together and sing; but the tune is not a hymn–hopefully someday it will reach a fever pitch and authenticity, something like Nina Simone‘s deep, dark, gravelly soulful voice. Let the work be deep, dark, dirty and gritty. I am not looking to create a spectacle for fun or frivolity. This is serious business for me. This is crafting a new fabric in a new manner that is complicated–as complicated and fragile as our contemporary moments. 


To make plastic art 
Redefine plastic art
To make you love plastic art
To challenge and bewitch you with what you think is formal or plastic
To make you bow to her craft
Redefine craft


To weave 
To weave your mind
To weave your mind into confusion
To drag you into the sacred without your consent